#also this was all happening in space (incredibly important detail)

[clementine-kesh]

y’all ever have a dream that’s strangely plot heavy and emotionally intense and when you wake up you’re like damn i wish i could project that into other people’s brains so we could discuss the characters and themes

[sarahreesbrennan]

Thank you for writing Long Live Evil.

I'm no cancer survivor, so I haven't been through the horror that that must've been, congratulations to enduring and surviving, and my sincere condolences that you had to go through it.

But I am chronically ill (cystic fibrosis, genetic defect) and have so far lived for 5 years longer than my prognosis allowed. My health's been good and stabile for a long time now, but I remember times where I couldn't walk alone, had a 18/6 nasal cannula and a 24-hour IV drip instead of school or a future.

Now I'm working at university, an archaeologist, chipping away at writing stories for years and years, and incredibly glad and privileged to see the world. All this to say that seeing how hurt Rae was in the beginning (and again throughout the story, while also never truly forgetting her true roots and motives) and how she grew around it like a gnarled tree, was like catharsis for me. Having miraculously given a second chance, no matter how hard the fight to keep it will be; I haven't ever read any story talking about this in a way that made me feel seen and understood like this. Thank you also lots and lots for taking the time to mention Rae's appreciation for Rahela's curves — it's been the same for me, since I've managed to get out of the underweight-trap. It means a lot to me, and I guess to many others in similar situations, including you of course. Thank you for sharing this with us, it must've been hard to touch on a deeply personal experience like this in writing that's simultaneously removed from oneself through fiction (at least that's what I'm imagining).

Thank you, and I wish you nothing but the best, health, and lots of good days to come. Deeply curious to see how Rae's story will continue!

Thank you so much for this.

I am so glad you are alive. Thank you for that, too - for living on even when you couldn’t see a way forward and everything was helpless despair.

I haven’t been through what you’ve been through, either, but it’s a privilege to have shared adjoining experiences trapped in darkness, and to share gladness and the wide world with you now. I’m so sorry it happened, and so happy you have archaeology and stories, and the world has you.

I will be totally honest and say it has been hard sharing Long Live Evil with the world, and I’m so grateful to you for knowing that, and for sending this message because you knew. This book is highly personal to me, but it’s also meant to be a wild celebration of messiness, escapism, and finding humour in art and darkness. And that means to some it’s just a joke, and in the words of Joanna Russ, ‘she’s not really an artist and it’s not really art.’ And so it gets dismissed, and it does hurt to see my most important story dismissed sometimes.

I was with other writers in a public space at one point and they were talking about how their books were about serious issues while ‘Sarah’s book is just for fun, and that’s fine too!’ (I had to take a minute before I could lean into my microphone and say ‘My book is about cancer’ in a cheery tone.) I’ve seen readers saying ‘this book’s just fluff, just silly, I’m ashamed of myself for reading it, there’s nothing to it’ about the book I wrote about almost dying.

My Rae, while of course she has bits of me in her (every character I’ve ever written does), and evil queens I’ve loved, and characters with wild hubris going on in the Greek plays I mention often in the book, and readers I’ve seen and I’ve been who are blithely confident they know what’s going on without doing more than surface reading and while forgetting key details… she’s also bits of women and girls I’ve mentored, been mentored by, befriended. And some of them are dead. So seeing the bits that were them particularly scorned or judged, seeing her pain dismissed or the discussion of her body sneered at…

That has been hard.

But.

In the end I believe I am really an artist and this book is really art, and art is there for the wide world to judge - to be mocked and dismissed, yes, as a price that comes with the opportunity to also be truly seen and appreciated, to get to influence real people’s real lives. Art is the gold that comes from the crucible in which we put all our pain and all our love and all our joys. I believe it deepens and transforms.

I wrote this book about how deeply unsympathetic people actually are to sufferers of illness, chronic or otherwise, and especially to women expressing pain. How the world villainises imperfect victims—which means all victims. How the world villainises bodies, and robs us of our joy in them—even when there’s horror in a body, too. I did know that by putting this book out into this world, that attitude would be reflected back by the world onto the book. And that attitude has hurt me in the past, and hurts me when I see it now.

I still think it’s worth calling out that attitude, even if it means getting more of that attitude reflected back onto me - because it means readers like you see it, and know others have been through this, and it was never okay, and you were never alone. While I know there will also be readers with chronic illnesses and/or cancer whose experience doesn’t overlap with mine at all, that only means there need to be more stories. So everyone who needs it gets the map into fantasy lands.

And I do hope some able-bodied readers read it, and think twice about adopting the world’s attitude to the people in their lives who are already going through enough. Some readers have told me the book helped them sympathise with and understand the cancer sufferers in their family and friend circles, and that’s meant a great deal. What do we write for, if not to learn to love each other better?

Long Live Evil has also given me my life back, as truly as chemo did, in a way that makes the pain worthwhile - I think I would have kept telling stories in some form, but Long Live Evil was my last throw, for as far ahead as I could see. Now since the book’s done well so far I’m hoping I can write more books, and my life can be the storytelling shape I always wanted it to be.

I read your message and I regretted nothing. I remember the pain and the way so many of us laughed or tried to laugh our way through it, and I know this was my way. Jokes, like stories, are the golden thread we follow through the dark labyrinth of our own agony and incomprehension.

It really has been hard, and it’ll stay hard. But like living, it’s worth it.

Please know two things.

I am so happy I wrote this book. Ultimately more than any other feeling I had so, so much fun writing it, and I’m having even more fun seeing the book be read by the people it was meant for.

2. This book was written for you.

[its-your-mind]

Some Thoughts on the importance of physical touch and connection for the Hells: A reflection on the new animated intro.

In general, I think the Hells are a really strange and special group, especially for a dnd party. They pretty much laid all their baggage on the table within the first week of meeting each other (What the Fuck is Up With That?) almost as a litmus test: "hey, here's all the shit that comes with being me, last chance to run away if that's too much."

and none of them did. and they all kept choosing to stay, even as shit got even weirder and more and more disturbing answers came to light. I think that continued choice from all of them - to stay - is what makes the bonds between the Hells so deep and so special.

okay trauma analysis and party dynamics is a DIFFERENT POST but it was all RELEVANT INTRODUCTION bc the CHOOSING TO STAY and the KNOWING EACH OTHERS' SHIT are like. key components to understanding why I am so feral about this. okay hopefully you will understand. the body of my essay is below. it has pictures. it got... too long. so. it went under a read more. yw. anyway click below if you want a very detailed analysis of an animated intro that is literally only one minute and thirty seconds long

For the first bit, character intros for Fearne, Orym, Imogen, Ashton, there’s no physical contact.

BUT. First intro of hells as a team. Ashton Trauma Flashback interrupted by laudna approaching slowly from beside him with her hand gently in front of him to signal her presence without startling him, and THEN just talking at them. Bringing him out of those flashbacks. Reminding him where he is and who he’s with.

And tbh? For Ashton? Touch is always iffy, so this is almost a more understanding and kind way to bring them out of the flashback. Just physical presence is good! UNLESS. (unless) first actual touch. Fearne stealing their coin purse, so gently that they don’t even notice it (FLIRTING THROUGH THEFT callowmoore my beloved)

(also grabbed the cap that shows her with his coinpurse these fucking ANIMATORS)

okay pt 2 FLYING OFF THE AIRSHIP

Ashton's first instinct and priority is grab laudna’s hand bc he KNOWS she is made of paper mache and he is ALWAYS watching out for her out of the corner of his eye bc she is breakable and he’s not gonna let her break bc he KNOWS what it’s like to be breakable and need someone to catch you when you’re falling but ANYWAY. he grabs her he uses his hammer as a fulcrum to throw her at Imogen

because OF COURSE he knows that the safest and most comfortable space for laudna is in imogen’s arms. and the two of them wrap their arms around each other and hold tight Superman style bc ofc they do and once laudna is in imogen’s arms she’s absolutely delighted by this whole situation bc OFC SHE IS

(tf do you mean I can’t add more than ten images on mobile UGH fine I’ll finish writing then draft and move to PC the images are IMPORTANT TO MY POINT anyway insert lesbians here) (note from future mind: I have decided that these pic descriptions i left for myself to grab the right images are fucking hilarious so they’re staying in yw)

Then fearne (who had been on her way in that direction already) swoops under Ashton to catch him as he flips over from the momentum so he can land on her giant bird back and she can fly him away.

(Pics: It’s fine to touch Ash if you’re saving their life)

(also not pictured: chet staying on the ship but losing his hat, orym grabbing it out of the air, imogen casting fly on fcg right before she catches laudna, fcg flying over to grab orym) All of this happens in six seconds by the way. One round of combat. These animators are fucking incredible.

BACK TO CHARACTER INTROS laudna who is ofc alone and in the dark at the bottom of the Sun tree, reliving her past…

(Pic: sad lonely laudna)

right up until Imogen puts her head on her shoulder, and the darkness burns away into light. She doesn’t say anything, or talk with laudna - all it takes is that physical reminder that she’s not alone anymore, that there is warmth, that she is surrounded by a family who loves her so much they chose to turn down comfortable beds in a lord’s manor so that they could join her in sleeping at the bottom of the Sun Tree. (Fav lil detail - fearne wrapped around Orym like he’s a teddy bear, and holding tight to laudna’s blanket to make sure she can’t go anywhere.)

(Pics: THE POWER OF LESBIANS AND FOUND FAMILY)

fcg. Fuck. Starts with their flashback, with their red eyes and their buzzsaw, but almost immediately we see Ashton reach out to grab their shoulder and Orym whip out a vine to tie up their saw.

(pics: reaching out even if it might hurt youuuuu)

Imogen goes on her knees and wraps her arms around FCG’s other side, and the rest of them all gather around him, holding him to keep him and each other safe, but mostly just grounding him in the present by surrounding him physically until the flashback fades and he’s once more aware of his surroundings.

(Pics: what the fuck they just need to be held)

(once shit has calmed down fearne uses this opportunity to pick Ashton’s pocket again. Flirting through theft).

(Pic: fearne is a menace to society)

final fight scene. fuck yes.

(Pic: IT’S THURSDAY NIIIIIIIIIIIGHT)

This is mostly just giving all of them room to be badasses (as they deserve) - but there are some things!! First!!

(pics: THESE WITCHES BE BITCHES minus fearne sry fearne we miss u but you are on fire and laudna is made of wood currently)

Imogen and laudna casting spells back to back, trusting each other to take care of what’s on their side. Inseparable, even in a battle where their party has scattered to fight other enemies.

BUT. The BIG thing though in this sequence. Maybe my favorite part? Idk I don’t have a favorite. But!! Orym. taking out four of Otohan’s shadow knights. then facing off against her personally!! And it’s one-on-one, because this was Orym’s task alone - to find the person who attacked his leader and killed his family. He’s angry, but mostly he’s honed-in and focused and determined. This is his mission.

(Pics: WHO’S JUST A LIL GUY NOW HUH)

But then, when Otohan pushes him back…

(Pic: fuck. shit. fuck. im. fine. anYway. them.)

FCG and Ashton are there right behind him, and they put their arms out and catch him so he doesn’t fly back any farther. And there’s this look of surprise on his face, because once he lost Will, he never expected there to be anyone else standing behind him, ready to catch him. And yet, here they are.

(Pics: fuck yes fuck yes fuck yes GOOOO ORYM!!!)

They give Orym a push forward and follow behind him, and he walks back towards Otohan with confidence. Lil grin on his face, brisk walking pace - he even does a little fancy sword swoosh! Because maybe he’s not strong enough to take out Otohan on his own. But the thing is, he’s not alone anymore.

(Pic: THEY.)

None of them are alone. And whenever any of them forget, or slip into old habits and memories, the rest are right there to reach out a hand to remind them.

Building a family out of broken pieces is difficult even without an apocalypse. But the Hells have shown each other, over and over and over, often with their actions even more than their words, that they really are dedicated to this family that they've built together. This intro fucking slaps so hard and the animators deserve so much praise for how incredible this intro is

[renthony]

Animation (specifically 2D animation) is my preferred TV/film medium. A piece of live-action has to go above and beyond to get over my personal bias of, "most things would be better if they were animated," but it's taken me a long time to figure out what, exactly, makes a piece of live-action really do it for me.

I think what it really comes down to, for me, is the little details. If your live-action doesn't have some level of nuanced physical acting, intense detailing in costuming and set design, a strong sense of visual storytelling, or kickass practical effects, I'm pretty much always going to come away thinking, "I'd like it better as a cartoon."

I think some of this is due to my issues with face blindness--I need characters to have distinct silhouette and costuming, or they will all blur together in my head. Animation tends to stress the importance of silhouette, so I have an easier time telling everyone apart and following who's who. That's not to say that this problem doesn't happen in animation, or that it always happens in live action, but I do think it contributes to my personal preferences.

Anyway, just for fun, a random shortlist of some live-action that I think uses its medium well:

Child's Play/Chucky. Half the appeal of Chucky (IMHO) is the incredible showcase of practical effects and animatronics. Each incarnation of the Chucky doll incorporates incredible advances in animatronic and puppeteering technology. I have on multiple occasions compared the Chucky puppeteer team to Muppet performers. That shit is its own art form, and it's incredible. The current Chucky show makes some use of CGI, but it's all to enhance the practical effects, and the puppeteers are all given the spotlight in the show's credits. I love that.

Killjoys. The incredible nuance to the actors' body and facial acting is mind-blowing. The set design and costuming are gorgeous, and there's a lot of very good detail worked into the visual space that would be hard to animate. They use their CGI well when they do use it, but a significant amount of the show seems to be practical effects and props. Additionally, Hannah John-Kamen's ability to flawlessly portray multiple characters is so good it's uncanny and makes you forget they're literally being played by the same woman. She changes her entire body language, and it's phenomenal.

Jordan Peele's entire body of horror. His films pack in so much symbolism and subtlety that I could probably watch them all a million times and still find new details. The nuance in the acting, the sheer detail packed into the costuming and set design, the use of color...god. It's unreal.

Crimson Peak, because the set design for that film...holy fuck. The costuming and set design in that film are pure gold. The acting is also phenomenal, but I could probably talk about the set design for hours. The house is a character in its own right.

Galavant and Our Flag Means Death, both for the same reason: both shows feel like I'm hanging out at a ren faire being goofy with my friends. They feel like I'm watching a LARP. They feel like they could easily exist in the same setting as Muppet Treasure Island, and at any second Kermit is going to show up and start singing, and it wouldn't be out of place at all. I think I'd also include Dungeons and Dragons: Honor Among Thieves in this category, along with The Princess Bride and Labyrinth--all of which also include kickass practical effects, choreography, and costuming.

This isn't some sort of objective truth or anything. I just like that I've finally been able to nail down some reasons why I prefer animation, beyond just, "idk, cartoons are fun."

[mixelation]

*devil on your shoulder voice* what if you went into a really detailed rant about why you hate the earth is space australia posts

>:(

common themes i don't like:

"oooh humans scawwy because PREDATORS" - shut the fuck up. you're being childish. are you aware that YOU are also prey in the right circumstances? predator-prey dynamics are diverse and often shifting (look up "intraguild predation"). you are literally making interspecific interactions less interesting by doing this

"pack bonding" - this isn't a thing. this isn't a term i can find used outside of this specific genre of post and a couple of dog training books. it has no biological or sociological basis. i asked a psychologist about it and they said y'all are wrong

why are we making posts hyping up humans, only to write those posts as terrified of interacting with the incredible diversity of human behaviors and attitudes and cultures. like in these posts humans are all universally "bonding" with strange creatures and acting like physical tanks in pressing situations. if the point was a love letter to humanity you'd think you'd get actual characters representing different facets of humanity instead of a single caricature

speaking of which, why are we romanticizing human traits which are not universal. yes, some humans can [physical feat] but many cannot. why do so many posts seem to be gloating over a "feat" i'm like 93% sure the OP cannot do

i hatehatehate the format of them as an alien having a conversation with a human, where the human calmly explains something about earth (almost always poorly/inaccurately) while the alien freaks out. i hate how 50% of the sentences either begin or end with the phrase "but yeah" because the writer doesn't know how to conclude a thought when they're waxing poetic about a topic they have a very shallow knowledge on

posts often don't seem to realize they're implying absurd things about how aliens work. like i just read one about how earth is ultra diverse, implying aliens have very low biodiversity, and earth is shocking for the aliens. however, if true, without the ongoing coevolutionary arms race provided by a diverse environment, how did the aliens evolve to the point where they have space travel? i want to know about how THAT planet works, not read someone on tumblr recite a bunch of lukewarm biology facts they only kind of half know

also why are there so many scenarios where the aliens meet their downfall because they just.... didn't do any observations/research before doing something? and it's never a clever thing like "they observed for years but missed X for Y reason." it's always just like "....and then they were dumb and we were so clever and smartbrained!!!"

idk why tumblr is obsessed with taxonomy but they get especially bad at it when aliens come up. guys. the aliens would use different systems because they have a separate evolutionary history. or if they used the same system--- why?! how did THAT happen???? see my point about implying absurd things about aliens

"isn't science terrifying" - NO IT'S NOT, THAT'S JUST HOW THINGS ARE???? i hate this attitude and i find it boring. also no offense but i don't get the appeal of writing aliens shaking in their boots at the idea of [earth thing] instead of being excited to find a cool knew thing. like why go into space if you're not enthused by finding out new things and getting to learn about how the universe works. why is the interest in otherworldly biology never mutual. why is it so important to you that aliens be afraid of us and humans be the most specialest darlings in the universe

back to the "conversation" format. i know most people are not scientists so there's no reason to know this, but. most biologists know a lot about one thing and not a lot about everything else. your intro bio professor seems like they know a lot because they know intro bio and you do not. if you started asking in depth questions about, idk, the wrong type of fungus or something, they'd tap out. so it drives me batty when "scientist" characters are written like they're genuinely trying to explain something where most biologists would be like "uh, well, that's not my area of expertise--" like yes I understand part of the appeal of those posts is that some people just like listing things that they know. however one thing that i know is how biologists tend to talk and you're hurting me

[williamrikers]

On the subject of consent in recent BLs

In this analysis, I will take a look at several love scenes in recent Thai BLs, how they frame consent and the sexual agency of the characters, and why those matter.

(KinnPorsche deserves its own post: I’m sure people have already written in detail about how much emphasis is placed on issues of consent/non-consent throughout the show and how fundamental consent is to the relationship arcs of both KinnPorsche and VegasPete, and I won’t belabor the point here. Also, special shout-out to The Warp Effect for what it brought to the conversation about gay sex, but TWE isn’t technically a BL so I decided not to include it in this analysis.)

I am going to take a closer look at the following shows in this essay: Not Me, The Eclipse, A Boss And A Babe, Step By Step, and La Pluie.

Not Me and The Eclipse predate the other shows by two years/one year respectively, but I feel it is valuable to include them here because both show very explicit negotiations of consent that I feel are spiritual successors to the wonderful scenes we’ve been getting in the other three shows.

Why am I even writing this? There used to be an unfortunate tendency in the genre to have a power imbalance between the “seme” and the “uke” character, which translated into the seme deciding when to have sex and what kind of sex to have—and even though recently, several shows have done good work in dismantling the seme/uke dynamic and questioning the associated stereotypes, it cannot be denied that the archetypes are still an important part of most BLs, and even in cases where the tropes are played with and questioned, understanding those subversions still requires a knowledge of and familiarity with the original tropes on the part of the audience.

However, gone are the days of Until We Meet Again and Dean’s “I’ve waited long enough, make sure you’re ready.” (I enjoyed UWMA a lot but that was. Yeah. Not Great.) Now, we see characters actually talking about and negotiating their limits, and doing what feels good to them.

Let’s start from the very beginning. Not Me was an absolute trailblazer in this regard, and not mentioning it here would be a gross oversight. The first time Sean and White have sex, it happens in their version of the beach episode. (Which, in Not Me, is the two characters briefly living in a tent inside an abandoned building. This show is the best.) Sean and White are removed from their usual environment and protected from the outside world by two barriers: the walls of the old house and the tent that’s literally enveloping them and giving them a space that is unequivocally theirs, shared, in which neither one of the characters has any sort of power over the other. And what happens in that space when they’re about to have sex is extremely interesting: the first thing Sean asks is whether White is afraid of him, which White denies. The following exchange goes like this: White: "So, what are we doing?" Sean: "What should I do to you?" White: "That’s up to you." (Watch the whole scene here.)

I find this exchange incredibly meaningful because this already turns the seme/uke dynamic that can be found in a lot of other shows on its head. OffGun as a branded pair can easily be stereotyped into the seme/uke dynamic just because of their physical appearances, and clearly spelling out that both characters have agency in this scene is incredibly important.

And then it gets better! Sean assumes that White is sexually inexperienced (which is not true but the fact that White was actually in a relationship with a woman back in Russia never comes up again after the pilot episode, so maybe the show expects us to assume this, too), and suggests they try different things and White can tell him what he likes and doesn’t like. Compared to the stuff we’re getting now, this scene isn’t very high heat at all, but it’s one of my favorite intimate scenes ever because them asking each other “Do you like this?” after every kiss, every touch, is so incredibly unique and transports a wonderful sense of figuring out sexual pleasure together, as a couple.

Sex in Not Me is not something one character does to another, it is something that is discovered and shared together, and we even get an afterglow scene in which they gently tease each other about their fast beating hearts. (And don’t get me started on the importance of White choosing to ask Sean whether Sean is okay with White not being like Black in that moment right before they have sex, because he doesn’t actually want to have sex with Sean as Black! He wants to discover and share intimacy with Sean as White, as himself, not as his brother! The layers!)

Anyway, I think that scene paved the way for a lot of the conversations around consent we’re now getting in BL, just because it is so explicitly, unashamedly putting forward a definition of sexuality that has nothing to do with one character actively giving and the other passively receiving, but frames intimacy as something that is built together. (More on giving and receiving later!)

Now, moving on to The Eclipse. I decided to include the first time Akk and Aye have sex for a different reason: while we don’t really see them actually talking about consent, we see them practicing non-verbal consent. Let me explain. Akk’s and Aye’s whole thing is teasing each other. At first, Aye is usually the one doing the teasing, but Akk gets the hang of it towards the end of the show and teases his boyfriend right back. When they’re in Akk’s childhood bedroom together, Aye clearly alludes to the fact that he thought they might use this opportunity to have sex for the first time, which Akk pretends not to understand, all while alluding to it himself. I love this guy. (Watch the whole scene here.) Anyway, Akk says he wants to sleep, lies down and once again, tells Aye jokingly he just wants to sleep, clearly expecting Aye to do what other BL protagonists do at that point and not take no for an answer (sidenote: I HATE the “saying no as foreplay” trope with a passion and as far as I’m concerned it should die already).

However, Aye is not like other BL love interests, and he backs off. He stops touching Akk, lies down with his back to Akk, showing Akk that he takes him by his word: if Akk says he wants to sleep, Aye is going to let him do just that. So now, it’s on Akk to say that, no, that’s not what he meant, can Aye please come back to cuddle. And then Akk is the one to escalate from cuddling to kissing, which is extremely important: we know that Aye has been ready to have sex with Akk since forever, it’s Akk who’s been having hangups about intimacy this whole time.

They don’t put consent into so many words on this show, but Aye shows Akk that he respects his limits and that Akk only has to tell him he doesn’t want to do something and Aye will take him at his word.

So, these are, to me, two foundational scenes of establishing consent: one that shows consent as something that is established verbally, as an ongoing conversation, and one that shows consent as something that is established physically, by showing your partner that you respect their choices and limits by way of simply acting accordingly.

Now, let’s get into the fun part: scenes we got so far in 2023. I’m writing this post on the 13th of June, and I’m sure this year still has some great things in store for us, especially because Step By Step and La Pluie are both ongoing and neither of the main couples are actually together yet at time of writing. However, they’ve both already given us AMAZING scenes on the topic of consent, so I feel it is worthwhile to write about those already.

I want to start off by talking about A Boss And A Babe.

Let me just preface this by saying that the intimate scenes in ABAAB are some of my all time favorites in BL ever, because in them, sex is something that is just so normal. When Gun and Cher have sex, we don’t see them very passionate, excited, reluctant or wide-eyed innocent (which are some of the emotions traditionally associated with sex in BL). On the contrary, in every single scene that shows them being intimate, both characters are incredibly calm. They’re certainly happy to be with each other, but in a subdued way. Someone described their second intimate scene as them seeming like they’ve been married for a few years. They’re both just… incredibly normal about having sex with each other. It’s simply something they like to do together. It’s a part of their romance but it’s not more or less important than any other aspects of their lives.

And consent is at the very heart of it.

When Gun and Cher have their first time, we see Gun explicitly asking for consent two times: first, “Can I kiss you?”, then, “Can I do more?” The second one even comes with the promise that if Cher says no, Gun will immediately go to sleep without mentioning it again. And then it is on Cher to say yes, to pull Gun close and kiss him to show him that he is comfortable with taking things further. (In the show, these two questions were shown apart from each other, I cut together a version of the whole First Time Scene in its entirety, watch it here.)

Now, things get more interesting: the second intimate scene shows Cher initiating the encounter (watch the whole scene here). Cher pretty consistently falls into the uke category, both physically and as far as characterization is concerned, but he’s certainly not shy in the bedroom. And this time, he’s the one who asks for consent from Gun: Gun asks “You’re starting it?” and Cher’s response is “Can I?” Despite him being framed physically lower than Gun, basically at Gun’s mercy, he still seeks confirmation that Gun is okay with the way things are going. Not to overstate it, but to me, this feels revolutionary. Once again, we’re being shown that sex is something two people do together, as a shared activity, and that the “seme” character isn’t expected to just be up for it. He, too, has the right to say no.

On this show, sexual agency is taken extremely seriously, and it is clear that both Gun and Cher give each other space to decide what they’re comfortable doing. This is shown in non-intimate scenes as well: there are so many moments on ABAAB in which the characters negotiate physical touch and closeness, asking each other for hugs before actually hugging each other, Cher leaning on Gun’s shoulder in the car but not allowing Gun to touch him because that’s not what he’s comfortable with in that moment, and so on. (The only exception to this otherwise pretty consistent rule is the kiss in the car scene, which I’m still extremely confused about because it seems to go completely against Gun’s character. Who knows what happened there.)

Of course, the fact that so much emphasis is placed on negotiation and consent isn’t surprising on a show that has such obvious kink undertones and whose Our Skyy 2 entry basically consisted entirely of Dom/sub roleplay at work—I’m just saying, I think someone on the writing team is way into BDSM and knows all about the importance of enthusiastic consent from all parties involved, and I would like to send them flowers.

Step By Step hasn’t really reached the point where we can analyse the dynamic between the main couple (although we can take some educated guesses based on the interactions we’ve seen so far). However, last week’s episode had an extremely important scene between Pat and Put: Pat wanting to have sex with Put, then changing his mind mid make-out (watch the whole scene here). I really like the way this scene was done. No matter how shitty Put treats Pat at times, in this instance, he immediately understood and respected Pat’s change of mind without Pat even saying or explaining anything—at the end of the episode, Put says to Pat that Pat should tell Put when he feels ready to have sex. (We already know this will never happen because of course, Pat and Put are not endgame, but I do appreciate the sentiment.)

BLs rarely include a whole storyline in which the protagonist is in an actual, serious romantic relationship with someone other than his endgame love interest (hi Moonlight Chicken!), or if they do then just to up the angst factor. In this case, however, I feel that this scene raises our expectations for Jeng even further: if the guy who is definitely not a romantic match for Pat treats Pat with this much respect in the bedroom, then Jeng has to do at least that and then some. I do feel confident that Jeng won’t disappoint in this regard, but it’s fascinating to see a show frame this kind of respect as the absolute baseline minimum, with the endgame love interest expected to do even better.

Now, the one you’ve all been waiting for. The one that made me write this whole essay in the first place: La Pluie.

Oh boy. Where to start.

A week ago, we got an incredible make-out scene on Saengtai’s floor, which ended in Patts stopping the encounter because he could tell Tai wasn’t really comfortable taking things further—@bengiyo talked about that scene in detail here. And then, three days ago, La Pluie gave us the most unique, trope-defying, timeline-changing blowjob scene of all time, and I want to talk about it.

Tai and Patts are making out on their bed, Tai is not ready to go “all the way” and stops Patts from undressing him. We see a very realistic frustrated reaction from Patts, who nevertheless immediately stops and accepts Tai’s wishes—it is clear that Patts does not expect things to go any further at this point, and that he won’t pressure Tai into anything.

And then, Tai offers to blow him.

(Unfortunately, this show is only on iQiyi so I can't link to it, but you can get a good impression of the scene here.)

I mentioned the concepts of giving and receiving earlier: other people have said this more eloquently than me, but there is a tendency not only in BL but also in wider society to view sex in terms of giving and receiving, with a lot of expectations and stereotypes attached to the roles during different sexual acts. On other shows, that blowjob might be framed as a consolidation or an apology, something that the giver does out of a sense of obligation without enjoying it much. Not so on La Pluie! Tai is shown incredibly happy and satisfied afterwards, both when they’re sleeping next to each other, as well as on the morning after (see also @ginnymoonbeam's post about that here). Tai offered to blow Patts because he simply wanted to, not motivated by guilt or anything of that sort. And he genuinely enjoyed it! In the post I linked above, @bengiyo points out that La Pluie consistently centers queer desire, or more specifically in this case, male desire for a male body; much in the same way that the camera fucking loves Force’s body on ABAAB: the sensuality of the skin, the hands, the abs, the flat chests, the broad backs and shoulders of these men is explicitly emphasized, and Tai’s desire for a dick in his mouth is made absolutely crystal-clear. Of course, since this is a TV show and not a porno, we only see Patts’s thumb in Tai’s mouth instead of his dick, but the imagery, the implications, are clear as day.

And it is such a gentle framing, too: Patts caresses Tai’s lip lovingly, Tai opens his mouth slowly, seductively, then faces Patts’s crotch with a soft look on his face. We do get a clear sense of this encounter as tender, and gentle, and most of all, desired. Tai’s queer desire is at the heart of this scene, and at the heart of the afterglow scene as well. He wanted this man’s dick in his mouth, openly suggested it, showed Patts he was sure about his decision after Patts asked him whether he was, and ended up clearly happy and satisfied with the sex they had. This post, also by @bengiyo, goes into more detail on that.

This, once again, shows us sex as a conversation rather than a series of predetermined acts, shows us sex as a shared activity, as something that can be wonderful and intimate and make people happy without following what society views as “the correct steps”. I think this is extremely important because one part of queer identity is figuring out one’s own relationship to sexuality, one’s own desires and needs, and BLs that ignore this aspect fall a little short in my opinion. Sure, those men are kissing, but do they experience queer desire? Do they experience joy in their queer desire?

For me personally, a show that does not shy away from these questions is a lot more meaningful than a show that does, and consent is at the heart of it all. By framing sex as a conversation, as something that is built and shared together, the shows I looked at here are actively positioning themselves against the idea that there should be predetermined roles for partners during sex, and instead suggest that queer joy can be found in communication and consent. Understanding sex and intimacy as something that is built together, with both partners as equals in conversation, is just as radically queer as a man waking up with a smile on his face after giving his soulmate a blowjob the previous night.

And quite honestly, a male character who clearly, passionately, unquestioningly communicates that he wants a dick inside of him—that is incredibly sexy. But maybe that’s just me.

[blakbonnet]

AUTHOR OF THE WEEK: @clairegregoryau 💕

Everytime the topic of fandom kindness and community comes up, of helping each other out and fostering a quiet corner where people can be themselves, most people in our little fandom think of Claire. She's written over a million words of OFMD fic and read even more, and you can always see so so many recs over on her twitter. Incredible good vibes, and an author who truly lives to lift other authors up. She also does SO SO much for fic authors over on the OFMD Fic Club server <3 And she was incredibly kind and shared her entire writing process with me:

What's your writing process like? Do you start with the beginning or the end? Do you write in order or as the scenes come to you?

I’m a huge advance planner, which is a process that has developed for me over more than 25 years of writing original fiction. I’ll get whacked with a story idea, then I’ll sit down and set out the central kernel of that idea, and where it needs to start, where it needs to end, and what the turning points need to be to get there.

A lot of the time I use a three-act structure, largely because Jenkins has talked about OFMD using that structure (one example here). So that makes it easy for me to hold to the canon beats when I’m writing AU stories, or to mirror them in canon-era stories, which is also something I try to do most of the time. With long experience (and now 1.7 million words of OFMD fic written (!)), I find this part of the process really easy. I’ll usually do that plotting by hand-writing out my notes, because it really fires up a different part of your brain.

Because I am such an advance planner, I do tend to write in a completely linear way from start to finish (I also pretty commonly post my long-fics as I write- each chapter goes up as soon as it’s finished and has a final editing pass). Punching through it in a linear way, knowing the ending that I’m working towards and being enthusiastic to get there, really keeps me motivated.

I do all of my writing in 30-minute sprints at the OFMD Fic Club Discord, where we’ve built a lovely and LOUDLY enthusiastic writing community that anyone is welcome to hop into 24/7. For those who find the constant chat a bit overwhelming, we also have a Quiet Focus Sprints channel. Again via long practice, I’m a very fast writer, but that’s accelerated a lot more over the last couple of years, paradoxically because I couldn’t write the way I used to anymore.

I was diagnosed with an autoimmune disease that includes some fun brain impacts at times, and it’s really hit my working memory especially. I used to be able to hold all the strands of a complicated story together in my head as I wrote, but now I can’t do that as easily. So that’s why the outline is important for me, so I never lose track of the idea- I’ll also do a quick outline at the start of each chapter I’m writing that notes what needs to happen, and then I’ll write in what I call layers, getting down whatever I can first, and then doing sweeps back through it to add internals, narrative detail, sensory details and so on. I make a LOT of notes and square brackets as I go to remind myself of things to look at later.

I also use a plot matrix [Twitter thread, Example Matrix] that you may have seen floating around- I mostly use it to keep track of plot details that have already happened within a story, so that I can check it out at a glance, but I will sometimes plan certain elements in advance (as in the case of Tree Change, which covered 87 of the 93 Kinktober prompts last year across 12 carefully planned chapters). There’s always space when I’m writing for the characters to surprise me within that plot framework- as a final plotting thing, once I’m at the halfway mark I’ll often plot backwards from the planned end to make sure that I’m on course, and to see what I need to adjust.

Favourite trope or headcanon you like to explore while writing?

I really like to dig into the friends-to-lovers trope that sits at the heart of the show. The Ed and Stede relationship reminds me immensely of my own- like Rhys and Taika as friends, we’ve been yes-anding each other for over 25 years (all of my least hinged fic ideas come from bouncing thoughts back and forth with my husband), and it’s been a steady mix of constant silliness, curiosity, and care. We’re best friends first and that’s one of my favourite things about Ed and Stede, that they are, too.

What I really love about it is the vulnerability of these two people who’ve been hurt so much by others in the past, who’ve never been fully appreciated for all the things that they are, and in each other they find the one absolutely perfect person who just gets them, and it makes all the difference. It’s always fun to play with that and variations on it in fics, and it’s usually the beating heart of my stories.

Whose voice is easier to write - Ed or Stede? Why?

I want to say that I find them both equally easy depending on the story. Ed as a character speaks very much the way I think- he has that ADHD buzz, the high swear level, and a very AoNZ turn of phrase that’s also very familiar to Australians (like me). Writing Ed is like turning the inside of my head out and it always flows easily.

But I have always said that I see myself in both characters in equal parts, so I find Stede pretty easy to write as well. I feel like I pretty solidly understand him as a person, with his history of rejection and his commitment to trying anyway, and trying to be kind, and letting himself be fascinated by things, from piracy to books to moths to Ed (that one’s not hard).

Your personal favourite thing you've written that you'd like more people to read

This is a near-impossible question with 69 OFMD fics up on AO3 😅 I really do love them all, and I have a lot of smaller one-shots that haven’t been read as much, but overall I’m incredibly lucky with readership and so so grateful for everyone who enjoys my work.

But my recent Reverse Bang fic The Broken Lines is hugely important to me and I think it’s probably one of the best things I’ve ever written anywhere. It’s set in the aftermath of the First World War (my professional zone of expertise), and features a Stede who’s lost his voice, his memory, and as far as he knows, his Ed. He gradually remembers what happened with the help of the crew and another Ed, who appears in his mirror from 1719, searching for his own Stede. It was a beautiful collaboration with artist Gerlinde to begin with, but I also got to work with one of my longest-term writing friends Jill @followedmystar as my beta, and then with Boy, who made a truly transcendent podfic that I can’t yell about enough.

What is the one word that you think you use a lot?

I think the word I have to zap more than any other is “actually”, and there are still a million of them in there when I’m done. The main reason is that to stick close to canon voice, I try to incorporate a lot of the less iconic/ more ordinary turns of phrase that the characters use a lot in their speech (I’ve watched every episode of the show… way too many times), and both Ed and Stede actually use “actually” a surprising amount. I just use it an even more surprising amount 😂

(This just sent me on a QUEST to find a specific number because I am that kind of nerd- Stede says it 15 times in S1 and 12 in S2, and Ed says it 8 times in each, for totals of 27 and 16, many of them in distinctive moments; it just gives that little buzz of recognition for me. I started out screenwriting before I moved to prose, so my writing tends to lean pretty strongly on having a recognisable, almost audible voice to the dialogue, as well as a cinematic visual style for the big adventures especially).

Do you have a beta reader? Have they made you a better writer?

I quite deliberately don’t use a beta reader for most of my OFMD fics, because being in this space is an exercise in recovering from lifelong paralysing perfectionism around writing especially. I’ve spent so many years not finishing original work because it never feels like it passes the invisible bar for perfection that exists in my own head. So when I started writing OFMD fic, I set out to accept good enough as good enough, and to get back to enjoying writing as fully as I can.

Obviously this means that my work could be better, but I’m actively working on letting that thought go and loving everything I’ve made just as it is. When I have worked with beta readers on projects that require them, like the Reverse Bang, it’s been with friends who I trust and adore, who I know will listen to what I need (cheerleading, mostly), and will do their best to work with me on improving the story without letting me spiral into hating it all because it wakes the perfectionist beast back up.

That doesn’t mean I’m without regular support, or that I’m not trying to improve my writing! I read an absolutely insane amount of fic, and I’m always in awe of the talent we have on this ship, and always learning from what other people do well. In lieu of beta readers, we share snippets of work all the time in our sprints team, so I get feedback there; I also get it from readers in progress, who often give me a sense of what’s hitting the way I hoped and what needs a bit of tweaking. I also have lovely group chats and individual friends like Kerry @communionnimrod and Lis @ghostalservice and Jill who I can run to if I need an opinion on whether an idea feels right or not, which I will often ask.

I’m very very careful with my writing, but in a couple of rare instances readers have also DMd me to note spots where I’ve inadvertently included something that doesn’t reach the sensitivity standard I’m aiming for. I’m always grateful for that gentleness and bravery in reaching out and I’m always happy to change something or to add tags or notes as needed.

Why OFMD 🥹

I watched the whole show in one hit a week after the final episode aired, and I loved it immediately, but I thought I was going to be normal about it. The unravelling into complete, unrelenting obsession happened gradually as I rewatched it with my husband and teen, then again, and again, then started to read fics and hunt up art, then started joining fan spaces, and then dived into writing my first fic in two and a half decades (all original writing between The X-Files and here), thinking it would also be my last.

I’m still here, still writing constantly, and a major portion of it is the show and how distinctly it reflected all the many parts of me, some of which I’d never seen so clearly before. I had a tough childhood in a few different family respects. I didn’t understand that I was neurodivergent until I turned 40 and my own kids were heading for diagnosis, and I’d been rejected constantly throughout my life for being too much. I was a high achiever who was in the process of crumpling under pressure right when I watched it, and while I’d been figuring out my sense of my own queerness for a few years, I’d never had a community that helped me feel at home with that.

And in the end it’s the community that’s been the reason I’ve been fully sucked into fandom for the first time since my teens- the writing in this space is top-tier wonderful, and the community is such a found family, just like the Revenge. Being able to write and have people actually want to read that writing, being able to cheer others on and hype their work, being able to help set up the OFMD Fic Club Discord and make it a safe spaceship for so many people, has been incredibly fulfilling and lovely. 

Please head over to @ofmdlovelyletters (who also made the header) and send your love to all your favourite authors (and authors of the week 😈 watch that blog for some special letters coming your way)

[bringinghometherain]

I think the whole "I had to drop my phone...and go to Costa Rica for a while" thing is very likely because Rhys has been almost entirely a comedic side character in his work for like, 25 years. He's been earning his living being funny and awkward in front of a camera, which is a different subdivision of Hollywood from being attractive in front of a camera. He probably, as he got older, settled into that identity just fine. He likes being the funny guy, he feels fine about how he looks, he married a lovely woman and therefore didn't need to fixate on his appeal in the way that people who are dating need to (or feel they need to, rather).

Being Funny as an identity (especially for Rhys's generation of comics) often means you have written off the idea of being considered conventionally attractive. Not because you're not attractive! But because you start being funny when you're a kid to get people to like you, because you're kind of weird and awkward and you have bad skin and don't really fit into your body, and nobody will like you unless you have "being funny" to offer to the group.

Being Funny also means you're probably very good at redirecting conversation away from the parts of yourself you don't want people to see, you're very good at self-deprecating jokes, and you probably feel like you need to earn your space in most situations by Being Funny (ask me how I know). And when you're in your late 40s and quite settled into this identity, becoming an overnight sex symbol and having your social media feeds suddenly flooded with incredibly detailed artistic depictions of you as a sex symbol, I would guess that is extremely hard to wrap one's head around!!! It probably feels uncomfortable at first!! If your relationship with your body is "oh that old thing, don't worry it tells jokes," then having dozens of people drawing you as a tasteful nude has gotta be weird! I get it, and I sympathize. If I had something that big happening to my identity I might also go to Costa Rica for a bit (no I would not, I cannot afford that, I would probably go to Lake Michigan for like a day and call it even).

And as for why Taika and Con have been able to embrace the fanart from the start, well. Leslie Jones has already asked the important question of Taika: "Do you know you fine as hell?" And yeah, he absolutely does. And like he says, he knew it in high school too. And I say this because he went into entertainment, he probably wanted this at least a little bit, like come on. He's funny too, obviously, but he's always been hot, and he knows that. He didn't have to fall back on being funny because he was also Fine As Hell. Before OFMD was even an idea he'd already had all these photoshoots of him being a goofball in one shot and a Brooding Romantic Lead type in another. Dude knew his range well before the first sketch of Blackbeard in fishnets dropped. He was always gonna be fine.

And Con! Con has been a romantic interest several times in his tv/film career, from the very start. He's a side character pretty often, but the man has gotten plenty of feedback that he's attractive enough to be a romantic interest on a screen. Hell, just in 2020 he was a romantic lead on a podcast drama (which was a great story, he's great in it, very fun little horror drama). So while he may not have the same Fine As Hell and Knows It energy Taika has, Con probably came into OFMD more sure of his physical attractiveness than of his comedic acting skills. And when the Izzy fanart started dropping, he probably didn't have much trouble getting excited about it after the initial surprise, because he hadn't written off his physical attractiveness in the way Rhys probably had.

[forestgranted]

I'm absolutely obsessed with your art piece of Etho's kill on Joel!! The composition is incredible. How did you learn that kind of composition? I've started learning art and your piece feels like ultimate composition goals!!

oh,, my god thank you so much.......

i never really learned composition, it's all just sort of intuition and experimenting, but i'll talk through my thought process for this one.

the only thing i was sure of from the beginning was that i wanted a low angle of etho jumping pulling his fishing pole back. at first i considered making it a comic because i liked all the crazy stuff etho yelled in that scene and there was just so much that happened in that short amount of time, but i struggled with making the composition work; i felt like i was squeezing stuff in, so i abandoned the idea.

after that, i thought maybe less is more, and just had etho jumping at the top and joel falling at the bottom landing in the water, but my friend pointed out i had a lot of negative space i wasn't utilizing.

i went back to brainstorming and looking for inspiration, and a lot of the life series art that i admire incorporate symmetry and symbolism, so i thought maybe i could put elements of their history from double life into the background. i also really liked the imagery of the stab itself rather than them just jumping, so drawing inspiration from ciearcab's philza illustration, i drew the stab big and center, kept etho's jump and joel's fall, made the water more graphic, and added the RelationShip and the fire. from there, it was adding more detail, adjusting color, adjusting anatomy, and adding smoke to balance out the top.

i really really struggled with this piece actually and i got a LOT of help from my friend @linktoo-doodles. i'm glad you like it and see it as "ultimate composition goals" hahaha! i honestly think it's a little too busy and certain important elements don't stand out enough, but i definitely put in a lot of effort and learned a lot.

[funhouse-mirror-barbie]

What it should mean to support ALL survivors—Fandom discourse and the depiction of sexual assault in media.

So. Okay.

Below is a video that, in my opinion, is a very well thought out and respectful critique of the writing decisions surrounding Angel Dust’s character and purpose in Hazbin’s narrative.

The author of the video does a great job clearly stating their thoughts and opinions, and put a lot of effort into explaining their reasoning in a concise and easy to understand way.

I really recommend giving it a watch—(TW for discussions of rape, sexual assault and abuse. )

However, one of the most important things about this video though, is that the author, Limus, takes the time to specify that the video is only her opinion, and that she does not want to invalidate the feelings of other people or survivors who like or feel represented by Angel Dust. (More below)

In their conclusion, Limus states, “…If you enjoyed “Hazbin Hotel” and Angel Dust as a character, that’s fine. I don’t want you to walk away from this thinking your opinion is less than mine. People have their own reasons for liking media, and the discourse surrounding this show and the harassment that people receive just for liking it is unacceptable. You can have your reasons for disliking a show, but people can also have their reasons for liking it as well. Everything I have said in this video is in relation to my own personal life…”

I was REALLY glad and really relieved that Limus took the time to specify this, because one of my biggest grievances with the discourse regarding Hazbin’s depictions of sexual abuse, assault and rape, is that I see a LOT of people, both critics and fans, disregarding the experiences and feelings of survivors with opinions opposite to theirs.

Specifically, I saw a LOT of people talking about the portrayal of sexual abuse in Hazbin, and media in general, as if it was something that could be judged as being OBJECTIVELY “good” or “bad”.

And then proceeding to argue with people over their opinions and feelings as if they were in some sort of debate and the other person’s beliefs could be disproven.

This was really frustrating to me, because I’m hyper-aware of how media is extremely subjective especially when it comes to serious topics like sexual assault, violence, substance addiction, abuse, etc. etc.

So, I’m going to talk, in detail, about what I see as a lot of hypocrisy within fandom and critical spaces.

This really started in January of this year (2024) when a trailer (or maybe a leak? Sorry I can’t remember) for Hazbin came out, and a scene from Poison was shown.

There were a lot of people who were really concerned with the way Angel Dust’s abuse was shown in the preview, a good amount of them survivors of sexual abuse themselves, and from there the discourse got pretty out of hand.

Worst of all though, people, both fans and critics, allegedly started demanding “proof” of survivor’s assault from those they disagreed with.

This was very gross behavior, and I don’t care what your opinion on Hazbin Hotel is, NO ONE should have done that. It’s not only incredibly invalidating, but also potentially re-traumatizing.

Seriously. I hope ANYONE who engaged in this behavior, REGARDLESS of if they love Hazbin and think it’s the best thing in the world or if they hate it and think it’s the worst piece of media ever, were able to take a step back and realize how hurtful and inappropriate their actions were. And hopefully grow from that.

What disappointed me the most though was seeing Hazbin’s creator’s reaction to all of this. It was, in my opinion, very hypocritical and set the stage for the sort of harassment that is continuing in the fandom today.

A Disclaimer—this is going to be one of the ONLY TIMES I talk directly about the creator of Hazbin Hotel, Vivienne “Vivziepop” Medrano. I’m doing so because she was engaging directly and openly with this discourse when it was happening, and I think it’s important to talk about her actions and reactions because it provides some context for the background in regards to the ongoing conversations surrounding Hazbin’s SA depictions.

I generally do not like publicly talking about or making judgements on creators as people based on the art they create, because while a creator’s art is almost always influenced by their personality and experiences, it’s not a good way to judge someone’s ENTIRE character. All people are multi-faceted, and the art or media we create usually reflects only part of someone. Additionally, people use art, fiction, and media to explore all kinds of things, including things they would never do or want in real life, and that’s valid and normal. Obviously.

But when a creator publicly expresses an opinion in regards to ongoing discourse, of course people are allowed to discuss it and have their own opinions. Especially when that creator has a lot of fans who look to them as a role-model. Not saying that Vivziepop is responsible for actions of her fans, but when you are a public figure like she is, I do think it’s important to be as mindful as you can about your influence.

With all of that said. Yeah. I was. Incredibly disappointed by Vivziepop’s reaction to this. Because, I actually do agree with a lot of the things she was saying about supporting survivors—

I 100% agree with this. Everyone processes trauma differently, and that should be respected. We should not judge survivors for how they cope or process their trauma.

If this statement was made in response to the all judgement and struggles that survivors generally have to deal with, I would not have any issue with it whatsoever.

But. It wasn’t. Vivziepop said this because people were criticizing Hazbin Hotel—specifically there were survivors who were upset and triggered by scenes from the musical sequence “Poison” that leaked prior to Hazbin’s official release.

Now, obviously, I can’t know her true intent or beliefs. But her bringing all of this up after she had received criticism from survivors about her show leads me to believe that she doesn’t really care about supporting all survivors. Especially since after she said this, she proceeded to dismiss the concerns that several survivors brought to her because “the show hadn’t come out yet”.

To me, this is just hypocrisy.

Now, to be fair. Im also an artist. I understand feeling like your art or story is your baby, and feeling really protective of it. In some ways I was conflicted when all of this was happening back in January, because I get the frustration and hurt that comes with people not liking your art or not giving it a chance.

That can be very disheartening, and definitely feels unfair. I can empathize with Vivziepop in regard to that, because I don’t know how I would handle the amount of criticism her art gets. I’ve had my art criticized pretty harshly online, and it does really hurt. I really can’t imagine how emotionally taxing that is on such a large scale.

But with all of that said, at the end of the day, as creator, especially a creator making something for widespread international audiences, you have to learn how to be okay with the fact that your art, whether it’s music, visual arts, storytelling, or whatever, will not be universally loved. That’s pretty much impossible, and it’s also okay.

And while you obviously don’t have to listen to EVERY bit of criticism you receive, I do think it is vitally important to listen to criticism and concerns when they come from a whole group of people you are trying to represent.

This was Vivziepop’s response to survivors of sexual assault who asked to have their concerns about Angel Dust and the portrayal of his assault also taken seriously:

In my opinion, these replies are all really dismissive. I agree with everything Vivziepop said about survivors who felt represented being spoken over was also wrong. But these are survivors being open about how Vivziepop’s show has already affected them negatively, and the fear that their reactions to and opinions on the show will be, or in some cases—have already been, invalidated and called into question by the Hazbin fandom.

Vivzie’s response to them is that the show hasn’t come out yet, so they are getting upset “preemptively”. It really comes across like their concerns did not matter to Vivziepop, and like it didn’t matter to her that they had already been triggered or felt as if the handling of the scene was fetishistic based on what came out.

She states that her fans are “speaking out on their own experiences and reminding that the scene isn’t out yet”. I’m not denying that some fans do feel represented, but to me, it doesn’t, and didn’t matter if the show hadn’t come out yet.

The full episode can’t magically “take back” the fact that a lot of survivors saw this small clip on its own and it was enough to affect them. And that is just as valid of an experience as people who felt represented.

And listen. No group of people is a monolith and that includes survivors. People WILL have many differing opinions about the way sensitive topics are portrayed, especially when it’s as traumatic as sexual assault and abuse.

I am not saying Vivziepop should have somehow magically concocted a show that handles sexual assault objectively perfectly and pleases every survivor ever. That’s impossible, and I would NEVER ask or expect ANYONE to be able to do that.

But, it’s very clear to me in the interactions above that the people who were upset only wanted their opinions and experiences to be heard and respected as well, and they were essentially told that their feelings didn’t matter.

And to me, Vivziepop’s reaction to all of this was really giving Sia circa 2020:

I really think that, a lot of this could have been mitigated if someone from the Hazbin team, not even necessarily Vivziepop, had just acknowledged, “hey, you’re absolutely in your right to not like the scene and those feelings are valid”.

But there is a very strange sort of hypocrisy that is almost like. Tinted with virtue signaling*??? About listening to all survivors voices, while simultaneously dismissing the voices of survivors that are saying they have already been hurt.

THAT is what bothers me the most. It really seems like the only survivors that a lot of people involved in this discourse, including Vivziepop, were willing to listen to or validate were the ones that already agreed with them.

If you are going to support survivors you DO have to ACTUALLY SUPPORT ALL survivors. Even if they disagree with you.

If you’re still with me, I really really appreciate it. I felt I had to go over all of this to add context, because the concerns those survivors talked about over 10 months ago, foreshadowed the EXACT situation that some people in the Hazbin fandom have now put Limus in.

All because, after the episode came out, they expressed their honest opinions on the subject matter and the way Angel Dust was written in a way fans disagreed with.

I find it really disturbing that, the whole point of Vivziepop’s dismissal was that the show hadn’t come out, and that she said she would “respect” if people had concerns AFTER it came out. But I haven’t really seen any acknowledgment from her that survivors, who after seeing the whole scene, were still negatively affected.

The below is a tweet Vivziepop liked shortly after the episode came out in full.

I agree that any survivors who felt seen by Angel Dust and the show and were invalidated and had their experiences dismissed and questioned by others deserve apologies. But I can’t help but think about the fans who didn’t feel the same, who were hurt, and triggered by the depiction of SA before AND after the show released. I don’t want to read to much into likes, because people like shit for all sorts of reasons, but Vivziepop liking this tweet saying she deserves an apology too does rub me the wrong way, especially after she was told that survivors have ALREADY been hurt.

Don’t those people deserve apologies too? Or at the very least just an acknowledgment that their hurt and concern was valid?? It just comes off to me as a confirmation that Vivziepop doesn’t really want to listen to ALL survivors, just the ones that haven’t criticized her and praised her show.

To clarify—just as Limus did at the end of her video—I AM NOT SAYING THAT SA SURVIVORS WHO DIDNT LIKE THE SHOW’S HANDLING OF SA ARE THE “CORRECT” SURVIVORS AND THAT PEOPLE WHO FELT SEEN AND REPRESENTED BY ANGEL DUST AND THE SHOWS WRITING ARE “WRONG”.

The WHOLE POINT of me going over ALL of this is to take a look at the hypocrisy of many people both in the fandom and outside of it who SAY they care about ALL survivors feelings and experiences, but then call those experiences into question the MOMENT a survivor has an opinion different than their own.

And sadly, I personally believe the creator of Hazbin also contributed hugely to this hypocrisy.

When we look at what happened in January, it now feels weirdly prescient. People are treating Limus’ opinion as if she is personally attacking them, or saying that their experiences are invalid. She did not do that.

It also seems like a lot of people who like Angel Dust and feel he represents them are taking Limus’ critique of the character writing decisions made for Angel Dust, who is not a real person and does not exist, as personal attacks on their real lived experiences. She did not do that either. She was extremely clear that her opinions were in regards to the way Angel Dust was written as a character.

But because Limus critiqued Angel Dust, her experience with abuse has been called into question, just like the above survivors that were concerned about all of this way back in January. This is absolutely fucking unacceptable.

I am saying this to CRITICS AND FANS of Hazbin Hotel and Helluva Boss, and fuck it, honestly ALL fandoms—If you have engaged in this sort of behavior, you have got to stop. I think the love and passion you have for the art that is important to you is beautiful and wonderful. But NOTHING justifies treating other people this way. It does not matter how much you love a certain character or how much they comfort you or what solace you find in them. There is NO EXCUSE for bullying and harassing someone over this shit.

I am saying this fully aware that it may cause people to get mad at me and want to send me hate. And honestly that’s fine. I will deal with it if it comes. But I couldn’t sit here and watch so many people shit on someone for talking about their experiences and opinions again.

Please, if you find the tweets/threads I referenced in this post, DO NOT ENGAGE WITH THEM OR HARASS THE POSTERS. This whole long massive post was all about why we should NOT do that.

When these conversations happen, I often see people just. Putting words into other’s mouths like it’s an Olympic sport. If someone says they don’t like the way Angel is written, they are not saying your experiences are invalid. If someone says they love the way Angel is written, they are not saying you have to love him and feel represented by him too.

Please. Please try to empathize with each other. Or at the very least, maybe just take some time to sit with your feelings instead of harassing others. I’m using Hazbin as an example because it’s a fandom I’ve had experience with recently, but this really does apply to all fandoms.

As I final note—if you love Angel Dust and think he’s the best written character and feel really represented and seen by him, that’s wonderful and I’m really happy to hear that the show was cathartic or comforting for you. Genuinely.

And if you hated the way Angel Dust was written and the show triggered you, I am so sorry that happened. It is so painful to re-live trauma like that, and I hope any that pain you felt from being reminded of what happened eased quickly and gently.

Both of your experiences and opinions are completely valid, and you have every right to express your opinions to others. Your trauma is real, and however you process it and cope with it should not be judged by anyone.

I just ask that we all be more respectful, and try to be curious about other’s perspectives regarding this stuff.

Thank you again for bearing with me through all of this. I hope you have a great day or night.

*I really really HATE the term “virtue signaling” because in MOST cases, I only ever see it being used to dismiss minorities and allies concerns about injustices. But, given the circumstances of this situation, I do think it’s actually appropriate here, given that survivors where expressing their concerns to Vivziepop and she was justifying her dismissal of them by saying the show hadn’t come out yet, and then went on to say that all survivors mattered. I don’t know whatever word I should have used, other than it just being hypocritical. Again I hate that term, and wouldn’t be using it here if I didn’t really believe it was appropriate and accurate.

[slugghee]

Welcome to my lengthy and disorganized attempts at analyzing Quarters 14 from the Felt I guess

(Well, "analyzing" is quite generous. It's more like me digging myself into a deeper and deeper rabbit hole for 30 minutes.)

Quarters's power is so incredibly weird to me. Every other leprechaun with an object juju directly uses those jujus by themselves. Yet Quarters's quarters must be distributed across at least 7 other people in order to function. Like... what's even the point of them being his? (Not a dig at Quarters, I find this rlly interesting even if it probably isnt meant to mean anything).

The nature of the power itself is also strangely convoluted. The quarters can switch individuals of ostensiblble thematic connection between timelines, sure okay. That fits in with the rest of the Felt's timefuckery. But then they added a luck and doom element to it. Only by flipping your coin counterpart's side can you summon then. If you flip your own side you die. Not to mention the choices of pairings. Every other Felt member's powers are pretty simple to understand, so why does Quarters of all people have so many details and caveats to his?

Then the pairing decisions themselves are quite confusing, having less to do with the actual relationship between the members of that pairing and more to do with connections between their defining character traits. For example, Itchy starts fires via his reckless speed/Matchsticks puts them out, Die has a death doll and Stitch has a lifey one -> (https://homestuck.net/official/formspring/)

But then Hussie says that some of the pairings just "don't make much sense." So is it just arbitrary? Based on the numbers they happened to be assigned and nothing more? All and any connections between character traits are just coincidences?

(Snowman, of course, gets her own special pairing with herself. Is the fact that she cannot be replaced with a different individual a commentary on her increased relevance as a character? Or just smthing to do with her space/timeline powers? And what does that mean for Quarters's power???)

The practical use for Quarters's quarters seems tailored for oddly specific situations. I guess they could be used as a last resort — at the cost of potentially ending your life, you bring in someone else to deal with your sticky situation, whether they're better qualified for it or not, in hopes that they will either resolve it or take the fall for you. It's shifting responsibility, tying someone to your situation rather than facing it head-on. That, or knowing you yourself have no use in this situation, and for the sake of the team, you bet on your life to bring in someone who's more qualified for the job. In which case it's more like a brave, quasi-heroic sacrifice (given that if the sacrifice actually happened, you'd fail to bring the replacement anyhow.)

Landing on your coin partner's side could refer to characters replacing each other's function in the narrative once one becomes defunct (for the situation at hand). (Supplantation? Being interchangeable? Or being succeeded?) Meanwhile, landing on your own side could refer to characters being treated as irreplaceable — leaving behind a space that cannot be filled and consequences that can't be ignored, letting the narrative situation fester or resolve itself without them. And whether or not either happens is a 50/50 apparently. Purely based on luck... or probably just the illusion of it.

In this interpretation I have no idea what the luck element means. Is the coin flipping heads/tails thing just there to show that there are two potential outcomes? Does the luck part not actually matter? Realistically, if a writer were to make the decision to "replace" a character in this way it would not be a random, 50/50 choice. Is this a commentary on the divide between the characters' understanding of fate and the writer's hand in it? AM I LOOKING TOO MUCH INTO THIS?? (yes)

The most important coin pairing (and the only coin we ever actually see iirc) is the one between Quarters and Clover. Clover can utilize the boons of this power without any drawbacks for himself. Despite being a pretty unimportant character in the grand scheme of Homestuck, Clover's luck is integral to his funny gimmick in the Felt (who in its entirety is majorly defined by being a funny gimmick), and thus must be sated at all times. He can call Quarters to take his place in any situation he's too lazy to handle. Though this still has the effect of ripping Quarters out of whatever he's currently doing to deal with a potentially fatal situation. Can't imagine he'd appreciate that.

The significance of Clover/Quarters's coin pairing is most likely just an logical extension of their powers and not meant to have any broader meaning. Just thought it was worth mentioning. (Though if I could figure out the significance of luck in Quarters's power, maybe I could come up with something. Unfortunately I'm pretty stumped.)

Back to Quarters (the character.) His power is not using these coins. Anyone with a coin can do that. His power is just... existing to have them, I guess. And perhaps distributing them once. (We never actually see anyone other than him and Clover use their coin so it's technically possible he's just keeping the rest to himself). Perhaps being the most knowledgeable about how they work, given he's the one that gave his own coin to Clover for tactical reasons.

Also interesting that Quarters flipped his own quarter so nonchalantly that one time. Like... did he just not know what his juju did at the time? Does he trust in fate? Was this his first time flipping one of his coins at all? Did he want so badly to get away from socially interacting with Cans and Caliborn that he flipped the coin for the chance of getting away from them, even at the potential cost of his life? (I'm going with that last one actually that's rlly funny)

Unfortunately, we don't get to see all that much of Quarters. He almost kills Spades Slick that one time I guess. His character is defined a bit more in TIDOMS, where he's a man of few words who looks perpetually grumpy, but even then he gets less screentime than most of the others. We get a quick non-explanation for his power and welp time to move on guys! (He's not even in any of the background wall paintings like come on!!)

Finally, Quarters's design stands out to me. Almost every other Felt member has a clear philosophy behind their design. Doze is hunched over and slow, Die has 6s for eyes, Stitch has stitches, etc. Meanwhile, Quarters resembles... a bird? A lizard? A skull, perhaps? I really do wonder if there's an reason behind the quirks of his character design, if at all. It's not like there's no other leprechauns with unique animalistic mouths but they usually have a clear reason for it (and Sawbuck has other elements of his design that more obviously align with his power.) In addition, the other Felt members are often seen with their portable object juju if they have one, such as Eggs with his timer or Biscuits with his oven. Even in Matchsticks's case, though he doesn't have an object juju, he constantly carries around an item related to his power (a fire extinguisher). However, Quarters is most iconicly seen with a minigun. Unlike basically every other member of the Felt who shoves their power into your face every chance they get, Quarters feels quite divorced from his own power. He's a badass with a minigun first and foremost. And I don't know if there's a thematically significant reason why but it sure tickles my brain.

In conclusion, Quarters is THE weirdest felt member. Thanks for reading this far 👍

(Also its been like 5 years since I've actually read any homestuck lol so srry if I missed anything)

[vitaminseetarot]

PAC Pick a Palette: One Small Thing That Will Help You Grow ☕🌞💴

Welcome back to my pick a card readings! This time we're looking at the time between our New Moon sowing and our Full Moon flowering. At this stage of the magic making process, work has gone underway to build upon the seed that was germinated and growth happens. Soon it will reveal the peak of its work through the flower, but before then the stem and leaves also deserve attention. They're the ones helping to power the whole thing!

It's important, then, to look at what you're using and where you are in the process. Not everything is meant to grow at the same rate, but sometimes the right ingredients like plant food or pruning clippers can do an incredible job at providing a needed boost.

Pick one of these three color palette swatches to find out what you can add or remedy to assist the growth of your own magic!

(Forgive me if the spread out looks a bit funky this time, it's all about finding the part of the house with the best natural lighting!)

Pile 1: Coffee Beans

Draw: Four of Wands; Queen of Pentacles, Page of Wands, Death 18 - Communication, Aries Rising - Act, Heartsease - Compassion "Tread a little more tenderly."

You need more space to grow whatever it is you're creating. A bird can try to lay an egg without a nest, but it's never going to be easy. Building a sturdy nest increases the young's chance of survival. You should try considering the space in which you're using to create your project or desire: are you writing a novel in a cluttered room, or cooking a meal when you can't find half of your measuring cups and saucepans? Are you meditating in a place where it's difficult to tune out the background noise?

Four of Wands talks about creating the space for you to thrive like the corn in Queen of Pentacles. The Queen is able to cultivate her garden in peace and certainty that abundance is hers. You are meant to take what it is you're doing and allow it to grow, so the Queen is being quite literal here. But she wants you to do it from a place of joy and enthusiasm instead of dread.

The Page is fired up from drinking coffee and is ready to go. But you must be in a place of ease with yourself to do this. Your message is to act upon your growth, but do it from a gentle place and at a gentle pace. Do not try to over exert yourself when you do have the space to practice or create. Do not try, for example, to squeeze 45 minutes of exercise into 5 minutes, thinking that it's all the time you're allowed, so why not go overboard, amiright? This is the fast lane to killing what you're growing and your joy for it, pile 1, and what you're growing is still in a very delicate stage. You have time to work out the details, so don't rush this. Heartease was the first card to pop out and the only card to jump, so it's really emphasizing the need to be careful with how you spend your time and energy.

The Communication card is the only one that really stands out to me. Perhaps what you're developing has to do with communications. Writing a book, preparing a speech, blogging, interview, etc. but it could also have to do with growing your connections with other people through how you communicate. You could be rekindling an old friendship from school or meeting someone for coffee? In any case, Compassion is the keyword here. Be gentle and ready to listen more to feedback, while creating a safe space for your friend or colleague to communicate clearly with you. This is a meetup you'll want to act upon, but do so from a place of kindness.

Also for some reason, maybe it's because I heard the song recently while out, but Tom Petty's "Free Fallin" is in my head while typing your reading and only your reading. Argh, such an earworm! If this person you're meeting up with hurt your heart in some way way back in the past… yeah it's cool to be on the defensive, assert your boundaries. Heartease, however, still asks that you treat this situation with diplomacy.

Pile 2: Radiance

Draw: Eight of Wands; Queen of Pentacles, King of Swords, Knight of Pentacles 19 - Healing Grief, Pisces Rising - Dream, Wisteria - Longevity "Plan for and take the dedicated path."

You have some similarities to pile 1, so if you were interested in that pile I recommend checking it out for messages. For starters, you have Queen of Pentacles in the exact same space on your spread, so that tells me there's a lot of collective push for undertaking rapid growth at this time. The Queen does it from an appearance of near effortlessness, but it's not without considerable effort on her part. She's able to handle a lot with grace and consistency.

It seems like in your cards, pile 2, you're pretty solid when it comes to growing towards your goals. You've become used to trucking along without must reprieve, as if it's from one thing to another as smoothly as the train cars pass the railroad crossing. You're being asked to remember about the power of momentum, and about the little things that add up. Think of how a bird takes off. When it starts flapping, it flaps hard. Once it's high in the sky, it spreads out and soars with ease. It requires a lot of steady pushing, one flap at a time, but eventually when it takes off it gains more speed than ever.

Again like with pile 1, you have all the time you need to make your dreams grow and flourish. Just don't be surprised if this takes a rather long time to accomplish. The Queen of Pentacles is less interested in quantity or time efficiency as she is in quality. It's not that she isn't punctual, far from it, but she and the Knight know that the best fruits are ones that ripen when they're ready to. You're being encouraged to plan for the long term, with wise judgement as the King of Swords suggests, and to open yourself up to envisioning more brilliant avenues to fly through. Imagine what would make your heart soar, and grow that instead of something that you merely feel "obligated" to do. Great things can take time, but it'll be completely worth the wait.

Also, my sun catcher reflected a rainbow perfectly on the osprey in this Eight of Wands card, it's nice. There is a radiance that comes from taking time to grow something to how you want it to be, like the bird with its fish catching talents (it can pluck them right out of the water and fly around boasting its catch). Your skills will shine here, just be sure to care for yourself in the meantime.

Pile 3: Perfect Penny

Draw: Nine of Wands; II High Priestess, XIV Temperance, Seven of Wands 25 - Truth, Taurus Moon - Relax, Belladonna - Silence "Listen more and quiet be."

So this was an interesting spread because at first I couldn't tell if the message was to hold on or let go. Maybe that's your current dilemma when it comes to growth. And it's a valid one, cause it's a lot like the pruning stage. You have to decide which leaves are valuable to your health, and which leaves are dead and must be clipped away.

The penny is like… saving a wishing penny for a rainy day. You're on the defense with Nine of Wands. Do I use this penny now to accomplish this, you ask, or I should I save it for later when I might use it for something else? Nine of Wands is a lot of energy being deliberately held back for a reason, like an arrow ready to fire. It could be that you're maybe putting a little too much perfectionism into the idea. What you're growing has not yet been grounded into the material world, it's still a passion idea or a fire in your heart but you're holding it back. But Nine of Wands is also a Sagittarius card, doubly so since Sagittarius is the 9th sign. The requirement here for growth is pushing forward with optimism that your wish will not go to waste. There's an energy of perfectionism here especially as it took me exactly nine photos before I settled for this one. I finally decided it didn't have to be perfect, it just had to feel ok enough!

My first reaction was to say "trust your gut and you'll learn to balance the give and take," then High Priestess and Temperance came out together! Somewhere inside you already know what it is you would like to do with "the penny" of an idea you're casting into the wishing well. You don't have to overthink this. It's a matter of coming from a heart-centered place of Truth. Belladonna is showing you how to tap into your intuition: "listen more, silent be." Listen closely to what your heart is wishing to do. Balance this out with how others may perceive your goals or growth. There may be people who say something like, "you're going to use what you got on 'that'?" or "are you really sure that's what you want to do?"

It takes practice to choose from a place of intuitive open mindedness, but it will reward you in this case. You're being reminded to stay relaxed and steady about this. Making the next move doesn't have to come from a place of high pressure or unneeded stress, even if it's time sensitive. But by learning to listen to your intuition more, the part that tells you how to proceed from a place of optimism within reason, you'll be able to more quickly expand and grow upon what it is you're creating. With penny's copper corresponding to Venus as well as Taurus moon, it's suggested here that you could receive monetary or financial growth through this, as well.

This reading has not been evaluated by the FDA to diagnose, prevent, treat, or cure any disease or infection. Please ask your physician before going online.

2023, @VitaminseeTarot ™

[kitkatt0430]

do you have a favorite season or episode of Leverage? i love seeing you post about this show :)

Leverage is one of those shows that it's so hard to pic favorites because it's all so incredibly, satisfyingly good.

The first season is probably the worst which is still putting it head and shoulders over the best season of so many other shows that I love. It was hurt by being aired out of order, which thankfully the other seasons didn't suffer from, but it has so many little details in there that become running gags throughout the series. Plan M, Hardison dies. Let's steal an <X>. Parker stabbing a guy with a fork. Hardison's stories about his Nana. Eliot's very specific catchphrase. Sophie's struggle with being an actress vs being a grifter. Alice White. Hurley. Sterling. Old Nate.

I think the Pilot and the two-part finale are my favorites from that season though it is a very close call with basically every other episode.

The Pilot of course gives us the crew and becomes incredibly important to understand the motivations of the final villain of S4. So, so much is established in this episode. The heist at the start, the mini-con at the hospital, and the main con to get their revenge. The walk-away where they all fail to walk away.

And then the two part finale. Nate's ex wife shows up and everyone basically falls in love with Maggie because she's awesome. Sterling truly establishing the Sterling always wins rule with his second win. Nate being able to punch - in the face - the guy who turned down the insurance claim for the medical procedure that might have saved Nate's dying son. Sophie trying to have her cake and eat it too, only to ultimately chose the team over herself. Old Nate becoming the Leverage mascot (to real Nate's chagrin).

Season 2 is probably my second least favorite because I think Sophie leaving the team is somewhat... mishandled? Overall they handled the actress needing time off while pregnant well, but she leaves the team to find herself but is upset that Nate gives her that space and encourages the team to do so as well? Like, yeah, he needs to be better at asking for help and it's his big failing this season but he's very much trying to respect what Sophie asked for and given shit about it. But this is quite possibly the only overarching storyline the show fumbled which is sooooo impressive. (Glances at the Flash and it's many fumbled storylines.)

The first episode of this season is hands down favorite. The team gets back together. Parker as a lock picking nun. The Team taking over Nate's apartment (and then refusing to leave for three seasons). The fact that this episode sets up the series finale. Because it does. The whole reason Nate decides to give in and rejoin the team for more than just this one job at the end? Is because this is where he realizes what really happened behind the scenes of the 2007-08 financial crisis, which leads directly to the target of The Long Goodbye Job.

(holy shit is this show amazing at callbacks and maintaining continuity)

I also really love the Two Live Crew Job for introducing Chaos and The Lost Heir Job for bringing in Tara for the rest of the season (only complaint is we barely get any more of her after this season). Though if I were to pick a second favorite episode of the season it'd be The Bottle Job because I love them saving the bar together and it has the first hints of Jimmy Ford being revealed (explaining further why Nate is the way he is).

I think Season 3 and 4 tie for me as second favorite seasons. S3 has the plot with the Italian and finally stops using Nate's personal failings as the driving impetus of the season finale. Eliot being so very ashamed of the man he used to be is incredibly touching (someone hug this man) and makes it all the more impressive what kind of man he's become now.

I love The Inside Job for putting Parker front and center. Introducing the man who raised her, but also failed her in a way that makes Nate quite likely want to punch Archie in the face. The show never outright calls Parker autistic, but she is. She so clearly is. And it's very plain to see that was factored into the set design for where Parker lives. It was part of Archie's reasoning for keeping her separate from his family - though he can say 'she wouldn't fit in' all he wants, the truth is clear in how he says it. But despite how he failed her, the episode is about showing that Parker does have a family now. The Leverage Crew. And they love her because she is the way she is. Because if she were any different, she wouldn't be their Parker. And they are willing to fight for her and trust her and follow her lead.

I love any episode where Hardison gets to be artsy, so The Scheherazade Job is beloved. How dare he be so talented? So, so, so multi-talented.

The Studio Job gives us Eliot's softer side and Christian Kane's wonderful country singing voice.

The Three Card Monte Job introducing Jimmy Ford in the flesh and giving us the wonderfully fucked up relationship he has with Nate. They love each other but they're too much alike to get ever get along. Each one has a very different code of ethics that clash irreconcilably.

The Rashoman Job is just incredibly well played, with the actors in the flashbacks being slowly updated as it's revealed this person or that person was actually one of the Leverage Crew pre-show. Sophie's accent in the flashbacks getting increasingly incomprehensible until she's basically speaking what the wingdings fonts look like when you try to type normally with them.

The King George Job giving more artsy Hardison who hacks history and probably needs a nap. Sophie's complicated backstory and her realization that cons where she thought no one really got hurt may have actually gotten people hurt after all - a character story beat that Leverage Redemption picked up for her and continued beautifully.

The San Lorenzo Job is absolutely stunning. Sophie shines here (and yet again does not know how to keep out of sight at her own funeral) absolutely stunningly as she builds herself up as a sort of Princess Diana/Evita type before her "assassination" that helps seal the deal of their election theft scheme.

Season 4 tying itself so neatly back to the job that started it all when it turns out the rich dude trying to manipulate them is working with Dubenich. It's impressive how well they pull off the reveal. But he's not the only big call back to Season One we get here. Parker's Alice White persona and the friend she made - Peggy - come back. Hurley comes back.

The Van Gogh Job is the best, best, best of the season. It doesn't pull any punches in saying "hey, this romance we're doing between a white girl and a black man? that used to be illegal. It is in living memory that these relationships could get black men lynched by racists with little to no repercussions. And talented black men would have their achievements handed to white men because 'that's the way it was.'" It puts the main actors into the roles of characters in the past just to make sure it hits hard because we know these faces. We're emotionally attached to them. Holy shit this episode.

The Hot Potato Job where the problem kid of the school field trip Nate and Parker hijack just needed people to treat him like a person, not a problem, to behave well. The way he bonds with Hardison and helps them smuggle the potato out at the end? I love this kid, I want to learn he's working for Leverage International one day.

The Carnival Job where the mark's kid is kidnapped and they burn their con because a child's life is more important. Eliot fighting concussed and with his eyes shut because he will be damned if he fails to save this little girl.

The Grave Danger Job managing to be the best 'buried alive' plot I have ever seen on a tv show (and it is a staple plot of tv shows from the 90s/early 2000s). They steal a police car and an ambulance for the sirens. It gets series with Parker calling Hardison 'Alec' and being at the most emotional we've seen her all show.

The Office Job being done in the style of The Office (and then the mockumentary follow up in the behind the scenes featurettes) is just priceless.

The Girls Night Out/The Boys Night Out Jobs being so perfect in how they intertwine over the course of the same night.

The Radio Job showing us just how much Jimmy Ford loves his son.

The Last Dam Job giving us "my son would be ashamed of me for killing someone. My father? My father would buy me an ice cream." Dubenich ultimately destroying himself while Nate walks away.

Season 5 is my favorite season, though. It's the culmination of where the show was heading from the start. Parker has grown so much from the first season that she's able to run her own con - something Sophie and Hardison have both attempted and failed - and with the rest of the team out of town to boot. Parker and Hardison clearly got the brew pub as a gift for Eliot, while realizing he'd never accept if they don't reverse psychology him into it. Sophie buying the theater and finally discovering her talent for directing as well as overcoming the blocks that kept her from bringing her prodigious acting talent to the stage floor. Nate achieving the goal that's driven him since the start of Season Two.

I love the French Connection Job for giving us more Chef Eliot. His relationship with food is lovely and this is my favorite exploration of it. Parker finally learning to appreciate beauty in art because of how she grows to understand how Eliot connects with cooking and learns to appreciate the artistry that goes into food.

The Gimme a K Job hits home personally for me - one of my sister's best friends (who was also the older sister of one of my best friends) was a cheerleader who hit her head in a cheer stunt gone wrong where the spotter messed up. It took a very, very long time for her to truly recover from that concussion (and thus why I know tv shows are bullshit for having people just walk that off) and knowing her injuries might have been less severe if cheerleading safety were taken more seriously...

The DB Cooper Job being another excellent episode built around Flashbacks staring the main cast in different roles. Agent McSweeten has to know something is up with the Leverage Crew, but he clearly respects and admires all of them. Especially Parker.

The Broken Wing Job giving us Parker on her own putting together a temporary crew from the wait staff and pulling off a con all on her own, while injured. (The whole reason why she wasn't with the team, in fact.) And it's so damn impressive of her.

The Rundown Job being as close to confirmed Eliot/Parker/Hardison as we're going to get outside of word of god (which we have!!!!) and it's beautiful to watch them work together without Nate and Sophie. It's also foreshadowing for them working together when Nate and Sophie retire.

Similarly, The Frame Up Job gives us how far Nate and Sophie have come as a couple and is as close to Nate/Sophie/Sterling as we'll probably ever get. (No word of god on this one, just me being overwhelmed by Nate and Sterling's impressive divorced-couple vibes. They're more divorced than Nate and Maggie, who are actually divorced.)

The White Rabbit Job where they almost push too far with their gaslighting routine but Parker is able to save the day by connecting to their mark in a way she didn't know how to when the show began. Her character development is such a highlight of she series so the repeated payoffs in this season are just... golden.

Every single thing about The Long Goodbye Job. Once again, all the callbacks to previous seasons. Eliot/Parker/Hardison being heavily hinted at again. Sterling letting Nate go because Nate was right, no matter what the law says. Parker inheriting the lead of the team from Nate. Sophie performing on stage the same play from the pilot, but being excellent at it this time. The episode's whole plot - again, cannot stress this enough - being a callback/having been foreshadowed by the season 2 premiere.

As you can tell, I love this show. It's beautiful and incredible and I was so, so relieved when Leverage Redemption premiered and I could instantly see that they'd done the impossible all over again. They'd recaptured the magic of the original show.

[goshen-applecrumbledore]

hello!! i love your works so much. you manage to be so intimately detailed within a single sentence. it’s really incredible how you are able to craft so much with so few words. anyway, i have a couple questions for you:

what got you started writing? how long have you been writing?

i noticed in particular your openings are always visceral and full of character. how do you usually approach your openings when you’re working on a draft?

and finally, which work of yours is your favorite?

that's so so kind, thank you, I don't know what to say, haha. I love to pack a sentence. below is an article on Big Sentences from the magazine I worked at in my 20s that was hugely influential to me.

writing talk and some examples below, using a cut because it's a long (ironic!)

how long I've been writing: I know this is an annoying answer but I've been writing all my life. little kid-stories about spunky redheaded heroines going on adventures in grade school, followed immediately by naruto slash fic, which I've obviously never looked back from. I don't know what actually made me start writing, but I've always loved to read, so writing follows, I think. I also draw, with varying success. for a lot of years I only drew and didn't write much at all, but somewhere in my mid-20s my focus flipped to writing and hasn't gone back.

openings: I looooove writing opening sentences and opening scenes in general. I think this is so important to set the tone and immediately get people to know your characters. even in fic, where they DO know your characters, they don't know YOUR take on them yet.

I think about how I can set the scene as quickly and impactfully as possible, which for me means getting immediately into some kind of happening-right-now action. someone's gotta be doing something. don't start with exposition, trust your reader to understand what's going on very shortly, and trust yourself to make any unknowns clear through what happens in the next couple paragraphs, instead of verbose explaining. primo verbs. get AFTER it.

as an example, some favourite opening paragraphs of mine:

Dean walked into Trish Maynard’s bedroom on the top floor of her parents’ home in an affluent suburb of St. Paul, Minnesota, and said, “Smells like Juicy Fruit and virginity in here.”

I like this one because it's got dialogue, it sets the scene and I, selfishly, think it's funny. I mentioned "parents' home" to immediately establish that this person is a kid, same with "affluent." just quick words that IMPLY a ton.

Sam spent ten minutes standing in his room trying to decide whether it would be worse to take his clothes off when he got there or to show up already naked. In the end, he went with a robe, nothing underneath. There was something pious and ceremonious about a robe, and it took it that one extra step away from a normal encounter. Barefoot, even though the dungeon floor was cold.

I like this one because it's not clear why he's doing what he's doing, which (I hope) stokes curiosity instead of being confusing. assuming that works, I think that's always fun. where's he going? why was being naked an option? naked in a DUNGEON? etc.

and a few I think are weak:

The back of Carmy’s throat was gummy with Pepto and his eyelids felt like sandpaper. The nicotine gum made his teeth all fuzzy and stale. He couldn't remember the last time he drank water. It was either Wednesday or Thursday.

This has some fun words (gummy, fuzzy. lol) but doesn't contain any DOING verbs. he's standing there, feeling shitty. not a compelling start

Sam was doing push-ups in the big empty room they set up to use as a workout space by putting down a rubber locking mat and getting a few dumbbells and kettlebells, resistance bands for physio. He was at the tail end of an hour as the interval timer on his phone ticked down, his arms and core aching, shirt wet with sweat. He had music playing quietly, he didn’t recognize the song.

uninteresting subject matter!! Who gives a shit about working out? the story isn't about working out! no relevance or stoked curiosity!! word choice implies the kind of very-real monotony of working out. why would I want the reader to feel monotony? foolish

favourite work: this changes all the time because I rarely like my own work for very long, so I always like more recent ones best.

my favourite right now overall is probably my true detective fic Hangdog. their voices and accents are so so fun and it had all my favourite topics. smelling bad. alcoholism. violence. and ultimately a nice ending.

I also have a continued soft spot for Matryoshka dolls (spn, johndean) because I've always wanted to capture the feeling of being in an objectively abusive relationship that also has a lot of love in it. I never really handle Big Ideas in my work, I like small ideas (smelling bad. conversations) but abuse is a big idea and it was challenging and interesting to write!!

thank you for the very nice ask, it was a lot of fun. always happy to chat

[the-eeveekins]

The 24th Day of G-Witch: Unrelenting Tenderness

Screenshots can't really do this scene (or much of the Calibarn's scenes) justice because of just how fast it moves, but Suletta is just really incredible during this fight. I can be hard to see with the speed, but she's actively blocking, punching and kicking the Rebuild's bits away instead of destroying them because she knows each one contains a child of the coven.

I've read analysis on why Lauda's motivations make sense from his point of view and why he's doing this, but it's very hard to care when he's such a minor character and this has absolutely no bearing on the main events of the story happening right now. Almost to drive home how far removed this fight is from the main story, Guel and Lauda are having this fight by themselves, completely away from Quiet Zero and everyone else.

It's just hard to care at all about any of this when it's really just an excuse to keep Guel involved to some degree in the finale, and give the Schwarzette some screen time to sell model kits.

And to be fair, the Schwarzette is an absolutely awesome mobile suit, one of my favorite Gundams (It's also a REALLY DAMN GOOD gunpla kit). It just oozes cool during this fight and I wish they had found a reason to include it earlier (Like Guel piloting it against Shaddiq in episode 20). It almost feels like they had to nerf it by giving it to an incredibly unpopular character (I attribute Lauda's popularity bump post-series to the Schwarette).

Ericht is trying her hardest to push Suletta away, but Suletta won't have any of it. She doesn't want to see her beloved family members do something awful that could kill so many people. She vehemently rejects Eri's plea for her to forget them and go back to school, because Suletta desperately don't want to lose her family and wants to be there for them, even in difficult times.

Finally realizing that she can't convince Suletta to leave them alone, Ericht resorts to threatening Miorine and Suletta's friends to try and push her away, but she's stopped by someone else within Quiet Zero.

Now we know this is Elan (4), and for the connection to Suletta next episode, that certainly makes sense to a degree. But I still really wish it had been Notrette, protecting her daughter. Sadly, despite her connection to Quiet Zero, her goals, motivations and what caused her death largely remained a mystery.

I really thought Guel was going to die here, but G-Witch firmly rejects death as atonement, and Felsi comes in and saves the day. Every Gundam series needs a Felsi to come and stop someone from dying a stupid death due to a misunderstanding and miscommunication. Guel and Lauda owe Felsi drinks for the rest of their lives.

But I hope to see her and her fire suppressant gun play a role in saving lives in a future Super Robot Wars.

Okay, as a long time Gundam fan, I've grown to expect the sudden giant space station laser. It would be more of a surprise if a Gundam series DIDN'T invoke this trope at least once. And it does serve an important narrative goal: Prospera is NOT the ultimate antagonist, and Suletta needs something to fight in the final episode as a culmination of her arc, but that culmination needs to be non-violent. The SAL Laser fits that role perfectly. I just wish they had done a little bit better of a job building up the SAL throughout the series instead of largely dropping minor details in the background here and there. The laser didn't need a huge amount of build-up, but I feel like they should have hinted at it at least once before this episode to make it feel a little less like an ass pull.

I would like to point out that while the SAL clearly has a lot of pull, they're not all-powerful, and they don't have the influence to do as they please with impunity. They didn't have the military strength or political power to suppress the Benerit Group until they had evidence of Quiet Zero and Peil split off, and needed to resort to secretly aiding terrorist attacks against their own people while framing the Group to generate the necessary support to intervene. And they needed to frame firing the laser and destroying the L4 fronts as an accident instead of just blatantly firing it off.

The point is: Even if the laser wasn't destroyed at the end of the next episode, it's not like the SAL could keep using it with impunity. Their actions of funding terrorist attacks were outed, as well as their intentions of wiping out millions of their own people on purpose to seize power. We don't see it because it's not a focus of the story, but the SAL was probably neutered/dissolved by the sovereign governments and corporations that made up it's membership after the leaders tried a blatant power grab with terrorism and mass murder.

A shame we didn't get to see it (thanks episode 15), but Suletta clearly informed Miorine about Prospera's plans and Ericht after their reunion. I love how frustrated Miorine gets over Prospera focusing on Eri to the detriment of Suletta. She knows how scared Suletta is of dying, but that she loved her mom and sister so much she was willing to board the Calibarn and fight for her life for the chance to talk them down and bring them home to be a family.

Lynn and Mamiko Noto have both pointed out how incredible Miorine is in this scene. As Suletta's fiance, it would be easy for her to simply tell Prospera to love Suletta more, but Miorine knows how important Eri is to both Suletta and Prospera and tells her to love them both equally. It's incredible that she would take that into consideration, but it's because Miorine has already accepted Eri and Prospera as members of her family with Suletta. Considering what Prospera did to her, something I think 99% of people would consider unforgivable, it's incredible that she loves Suletta so much and respects Suletta's desire for family so much that she's willing to accept not just her sister-in-law, but her mother-in-law as part of their new family. She's not being vindictive, or snarky, and it's not just for the sake of trying stop Prospera in this moment. Miorine genuinely wants them all to be a family when this is all over.

And it's notable that Miorine does not include Delling as a member of her future family.

This is the most ridiculous coincidence in the entire show. Notrette was the type of woman to leave a backdoor into her super weapon(?) just for her daughter, with the password being the genetic code for her strain of tomatoes. Something Miorine apparently never considered looking up and only knew about because Rouji just happened to decide to take a look at it? Why did we have a pointless fight between Lauda and Guel instead of learning more about this woman.

Unrelenting Tenderness. It's Suletta's unrelenting love for her family that won't let her back down and forget about them while they potentially terrorize the Earth Sphere. It's Miorine's unrelenting love for Suletta that she's already accepted Eri and Prospera as family and wants them all to have a happy future together. And finally, Eri's unrelenting love for her mother and sister means she'll do anything to protect them both, even sacrificing her life to save them.

[a-thousand-attempted-words]

Writing 101: The Scene

Any given scene has three variables that need to be adressed, which are Space, Characters and Time. If you find yourself writing something that feels flat or disconnected, look at these three variables and see if you are missing anything.

Characters, Space, Time.

The three pillars of all writing (and by this I mean: The three incredibly basic, broken down, handyman pillars of writing) can be applied and found in every scene that has every been written. You knew that. But lets look at what they can do for you.

Characters: Who are we even here for?

This one is the one you'll probably find the most tips online for. In essence, every character needs to have the following things:

A goal to move towards

A motivation to make them move

An obstacle to overcome in that journey

A flaw that makes the journey spicier

Those are all pretty standard. In terms of "The Scene", here are some additional things to keep in mind:

With whom do they have relationships with?

Which kind?

How is that expressed?

Whats the problem in the relationship (everyone has them. Even if they are routinely overcome, thats still a problem)?

Characters dont exist in a vaccum so dont view them as singular entities.

Having consistent, well defined characters that stand out will help you easily conquer the hearts of your readers. And having those people have defining relationships that reveal new traits about them is super helpful.

The way people interact with one another shows a lot about the characters.

Space: Where we are, where we were, where we will be

Space is experienced by occupying it, by passing through. Space is always relative to the other spaces next to, beyond and behind.

If this makes you go "So what?", you're not alone. We dont tend to think of space much. We dont always tend to think of space as relative either. But you should always be able to answer these three questions. Ive added some additional questions to make it easier to understand and know where to start.

Where are we? What relevance does this place have? Has it changed? Will it change? Who lives here and how? What does it feel like to pass through? Will everyone view it the same? Is this an emotionally charged place? An empty place? How large is the space?

Where were we? How does it contrast with previous places? And if there is contrast, how do we show that?

Where will we be? What happens when we leave the space? Can we return?

Time: Narrative Time and the beauty of writing

This is probably the easiest to understand: All stories happen in a timespan. Some of them are slow, some fast.

There are several ways of writing narrative time:

Actual Time: The characters process the things that are happening at roughly the same speed as we do. This is like the movie equivalent of a close up. Personal. Emotions and reactions flow as they would. It feels natural and its easy to follow along.

Quick or Condensed Time: The narrative time is passing much quicker than the perceived readers time. This is used for journeys, overviews, long sections that are summarised or poetically vexed about. Condensing several years into a few pages is less personal, but it can give you a relative sense of progress and allows you to put things into perspective. Its also - as the name says - fast.

Slow or Stretched Time: The narrative time is passing much slower than the perceived readers time. Minute details are extended, emotions are rested on longer, events play out almost like in slow motion. This is great for climaxes and impactful scenes, as often times what happens in seconds has much more of an impact of the people. You cant get more personal than this. Details shine easily, its slow and sometimes painful to consume because you cant look away.

There are also timeskips, flashbacks and whatnot. You can even be in the same time but far away from one another (Oh look, its space again).

Point is, time is relative and the way you express something in said time is important. Be aware of how time moves and how you want time to move.

Transition

Alright, I hope this helped you understand some of the core basics. This isnt a vast overview, more of a collection to help you understand the rough strokes. Ask any questions you have and dont forget to drink your water. Bye!